Kintsugi | Crown Devon Art Deco, Malachite Chalcedony Palette London Carved Pitcher Jug Vase, 1930s

This delicious handblown work of Post Modern art glass is by leading Swedish glass artist Kjell Engman (b. 1946 -), accoladed with the name 'Glass Wizard' for his unlimited imagination with art glass.

This piece is from the popular series named Corfu, designed by Engman in 1990s. Engman sought inspiration in Greece and Greek artistic expression and brought his characteristically playful, sculpted and organic style into the design of this pitcher vase.

The core body of this piece is spheroid, beautifully curved and toned in a Candied Forest Green with elements of dappled and striped translucency. This work is further accented with the continuation of stripes at the transparent neck and finished with the striking Coquelicot handle.

The overall composition of this work is of great harmony, demonstrated in the stunning blending of colour with form and size, makes this a statement piece.

This exceptional piece is unique as it features Kintsugi golden seams following a careful repair and highlighting process and even rarer as Kintsugi is typically applied to repairing ceramics rather than glass. The Kintsugi technique used is modern and has been applied in a tactile manner, a striking compliment to the colour palette of this piece.

CONDITION
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin. There is natural and very mild surface wear that is commensurate with the age of the piece. Please see photos as they form part of the condition report. The base bears the original Kosta Boda label and on the underside of the base, there is the inscription of: KOSTA BODA K. ENGMAN 7080512'

MEASUREMENTS
Height: c. 14" / 36 cm tall (from base to rim) x c. 8.1" / 20.5 cm in width (across widest point). Depth: c. 3.7" / 9.5 cm. Rim: c. 2.3" / 5.8 cm. Base: c. 3.9" / 10 cm Unpackaged weight: c. 2.5 kg / 2,510g

NOTES
Pitcher vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Kjell Engman (b. 1946 -), accoladed with the name 'Glass Wizard' for his unlimited imagination with art glass and known for being one of ten highly talented artists. Since joining Kosta Boda in 1978, Engman has designed a number of iconic series, drawing inspiration from diverse sources such as the animal kingdom, the world of music and entertainment.

Engman's style is distinctive and immediately recognisable. Common characteristics to his work include being bold, bright and colourful, ranging from the playful to the delicate to the sensuous. It could almost be described as Dali-esque and does not conform to preconceptions of simple, minimalist Swedish design.

Engman has often been commissioned at home in Sweden and abroad, designing works for public display and even famous pieces such as the 2008 Eurovision Song Contest trophy. Engman's latest works and installations can be found at his dedicated website: http://www.kjellengman.com/

THE ITEM
This stunning work is of Modernist art glass is a celebration of the highly skilled Murano Sommerso technique. Sommerso is one of the most famous Murano techniques, ['Sommerso' translation: 'submerged']. Sommerso is used to create several layers of glass (usually with different contrasting colours) inside a single object, giving the illusion of immersed' colours without mixing. This technique is easily recognisable; characterised by an outer 'casing' of clear glass and the thick 'bands' of coloured glass inside it.

This particular piece has the sought after triple-layer Sommerso, beginning with a core of Apple green, the next layer is vibrant Ocean blue and the final layer is a graduating Magenta pink. The work is finished with the wings of Azure blue which flourish with a flare at the rim.

The cased layers are arranged in an abstract pitcher shape with a gently exaggerated rim. The effect of each colour is similar to freezing the moment in time when a paintbrush is dipped into water and the colour ripples outwards.

This exceptional piece is unique as it features Kintsugi golden seams following a careful repair and highlighting process and even rarer as Kintsugi is typically applied to repairing ceramics rather than glass. The Kintsugi technique used is modern and has been applied in a tactile manner, a striking compliment to the colour palette of this piece.

CONDITION
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin. There is natural and very mild surface wear that is commensurate with the age of the piece.

MEASUREMENTS
Height: c. 7.8" / 20 cm tall by c. 4.3" / 11 cm width (across body's widest point). Base diameter: c. 1.8" / 4.5 cm. Depth: c. 2.4" / 6 cm. Unpackaged weight: c. 1.1 kg / 1,135 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is typically the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.

This elegant, whimsical and exceptional sculpture is by celebrated Danish illustrator and glass, silver, ceramics designer Bjorn Wiinblad (b. 1918 - d. 2006). Wiinblad often designed for a number of big names as well as the pottery studios he owned, such as Vaerksted, Nymolle and Det Blaa Hus. The dating and style of this sculpture places it as a handpainted studio work that was crafted at his own Vaerksted [Workshop] studio, which Wiinblad established in 1952 in Copenhagen. Vaerksted pieces by Wiinblad show his graphic skills at their best – where he was able to convey an emotion or feeling with just a few brushstrokes or marks.

Those familiar with Wiinblads illustrative work will be familiar with the exquisite level of detail his imagination goes to. This richness of detail is brought to life across many elements of this sculpture; such as the individually shaped, stylised leaves and flowers resting in the figure's hat, the tiny birds resting on the figure's arms and knees, and the flowing, draped folds of the dress. Further careful attention is evident in intricate handpainted patterns decorating the dress and the care taken even when illustrating eyelashes. 

This piece additionally features golden Kintsugi bonding, following careful repairing and highlighting, the bonding has been predominantly applied to the candleholder extension cup (top section of hat). The Kintsugi technique is modern and has been applied in a tactile manner, a gentle yet striking compliment to the sculpture's tones of red and white.

CONDITION
Excellent. The separate candleholder extension cup (top section of hat) has been carefully repaired using a robust water-resistant and durable golden resin. The resin has also been applied to three minor spots on the body. Please refer to photographs as they form part of the condition report. The underside of the piece bears Wiinblad's signature, dated with '77' and finally, denoted with 'DANMARK'.

MEASUREMENTS
Height: c. 12.6" / 32 cm tall (from base to tallest point, including hat/candleholder extension) x . 5.5" / 14 cm width (across widest point). Depth: c. 6.3" / 16 cm (from front to back). Unpackaged weight: c. 1.3 kg / 1,345 g

NOTES
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Born in 1918 in Copenhagen, Bjorn Wiinblad began his training and path to success in 1935. Wiinblad sought the path to his first passion of art and enrolled in graphic school at the Royal Academy of Fine Arts, debuting in 1945 with an extensive exhibition in Palægade, Copenhagen. He met and became firm friends Jacob E. Bang around this time, who engaged him to work for Nymølle Pottery.

From the beginnings at Nymolle, Wiinblad received multiple commissions, from designing textile and embroidery patterns to drawing posters, book and magazine illustrations. Wiinblad drew for the United Nations in Paris and designed costumes and stages for several theatrical performances. His fame grew in Denmark but soon would extend to Norway and Sweden and in 1950 his ceramics were exhibited at Bonnier's in New York, which specialised in Scandinavian design.

Wiinblad's recognition and acclaim would continue to grow, bringing him a silver medal at the first international ceramics festival in 1955 in Cannes, France and appointment as artistic director for Rosenthal in 1960. During the 1960s, Wiinblad would become owner to a number of ceramic studios including Vaerksted, Nymolle and Det Blaa Hus. He would make Det Blaa Hus his workshop and home until his death in 2006.

Wiinblad's successes did not stop in the Sixties, his continued achievements and international success were extensively documented and celebrated on the dedicated website: https://www.bjornwiinblad-denmark.dk/om-bjoern-wiinblad

Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.

THE ITEM
This exceptionally elegant and charming piece was designed in the 1950s by celebrated Danish illustrator and glass, silver, ceramics designer Bjorn Wiinblad (b. 1918 - d. 2006). Wiinblad often designed for a number of big names as well as the pottery studios he owned, such as Nymolle and Det Blaa Hus. The monogram signature of this piece attributes it to Det Blaa Hus [The Blue House], which Wiinblad took over in 1966 and made his home as well as workshop until his death in 2006.

It is said that Wiinblad was inspired by his maternal aunt Ella when he designed this piece and the Moster Ella ('Aunt Ella') series it came from. Those familiar with Wiinblads illustrative work will be familiar with the exquisite level of detail his imagination goes to. This richness of detail is brought to life across many elements of this sculpture; such as the individually shaped, stylised leaves and flowers which are threaded into the figure's hair, hat and gathered in the arms. Further careful attention is evident in the resplendent marbled trim adorning the cape, the intricate patterns decorating the dress and the care taken in illustrating the freckles and eyelashes of the facial features.

This piece additionally features Kintsugi golden seams following careful repairing and highlighting. The Kintsugi technique is modern and has been applied in a tactile manner, a gentle yet striking compliment to the sculpture's tones of blue and white.

CONDITION
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin and there is the mildest use wear in the form of movement marks on the underside of the base that is commensurate with the age of the piece. Mentioned for completeness: sporadic and minor spots of the base ceramic can be seen, however, this is from the crafting process and not damage or defect. Please refer to photographs as they form part of the condition report. The interior of the piece bears identifying marks of: Wiinblad's monogram of 'BW', the stylised model number of 'M10', dated with '77' and finally, denoted with 'DANMARK'.

MEASUREMENTS
Height: c. 8.9" / 22.5 cm tall (from base to tallest point) x . 4.9" / 12.5 cm width (across widest point). Depth: c. 5.9" / 15 cm (from front to back). Unpackaged weight: c. 0.7 kg / 735 g

NOTES
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Bjorn Wiinblad was born in 1918 in Copenhagen and it would be 1935 until he began his training, from which he graduated five years later in 1940. Wiinblad sought the path to his first passion of art and enrolled in graphic school at the Royal Academy of Fine Arts and would eventually debut in 1945 with an extensive exhibition in Palægade, Copenhagen with a collection of ceramics, drawings and posters. Wiinblad became firm friends Jacob E. Bang around this time, who engaged him to work for Nymølle.

From the beginnings at Nymolle, Wiinblad received multiple commissions, from designing textile and embroidery patterns to drawing posters, book and magazine illustrations. Wiinblad drew for the United Nations in Paris as well designed costumes and stages for several theatrical performances. His fame grew in Denmark but soon would extend to Norway and Sweden and in 1950 his ceramics were exhibited at Bonnier's in New York, which specialised in Scandinavian design.

Wiinblad's recognition and acclaim would continue to grow, bringing him a silver medal at the first international ceramics festival in 1955 in Cannes, France and appointment as artistic director for Rosenthal in 1960. Wiinblad's successes, however, would not stop there, his continued achievements have been extensively documented and celebrated on the dedicated website: https://www.bjornwiinblad-denmark.dk/om-bjoern-wiinblad

Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.

THE ITEM
This magnificent and sculptural work of contemporary design is the work of British studio ceramist Steve Woodhead.

True to his style, this piece is hand-built as well as hand-thrown. There is highly skilled detail all over, particularly featured in the careful construct of the 'bamboo handle' for which this design is known by. The glaze decor is a glossy colour palette composed of a striated blending, with rich and varied tones of blue, translucent coffee browns and powdered oxblood red.

This piece additionally features Kintsugi golden seams following careful repairing and highlighting. The Kintsugi technique is modern and has been applied in a tactile manner, a gentle compliment to the colourful glaze. The highly technical studio crafting combined with the Kintsugi work makes this piece uniquely one of a kind.

Included with this piece is the book 'The Teapot Book' authored by Woodhead.

CONDITION
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin. There is natural wear that underside of the base that is commensurable with the age of the piece. Please refer to photos as they form part of the condition report. The base is impressed with Steve Woodhead's 'sw'' mark.

MEASUREMENTS
Height: c. 7.3" / 18.5 cm tall x Length c. 3.1" / 18.8 cm (spout to handle). Width: c. 4.7" / 12 cm. Base diameter c. " / 6.6 cm. Unpackaged weight: c. 0.6 kg / 605 g. Book: c. 1.2 kg / 1,190 g

NOTES
Ceramic will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Steve Woodhead has been potting since 1980. setting up his workshop after moving to Rugby, UK from Scarborough in 1987. Woodhead enriched his experience exploring various bodies and glazes and became a fellow of the Craft Potters Association in 1993. He developed his own style in 1995, focusing on brightly coloured work in highly original and sometimes eccentric forms.

Woodhead's work is hand-thrown and hand-built, using surface texture to affect the often multi-layered glazes. The colours of his pieces become deeper and more saturated in the lows and thinner on the highs. He biscuit fires his work in an electric kiln and the reduction firing is in a gas kiln at 1,275 to 1,300°C.

Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.